General Description
Shinto is a Japanese term meaning “the way of the kami”. A kami is a Japanese deity. These deities are worshiped in Shinto Shrines. Originally, Shinto worshipers used all natural areas for worshiping such as rivers, streams, caves and waterfalls. This is because it is believed that these deities live in natural things such as rocks, trees etcetera. Later on, the worship included not only deities but also ancient relatives. The addition of the worship of ancient ancestors later led to the making of Shinto Shine Structures where the kami live instead of worshiping them outdoors. These Shrines began as single Structure houses made entirely of tree products. They now often consist of groups of buildings in a complex.
Architectural Design
Shinto Shrines are usually made entirely out of natural materials. The Main Shrine at Ise, shown in the picture is considered the most holy of the shrines. “It is rebuilt every twenty years to exactly the same specifications” (Exploring Art). No nails are used. Wooden pegs are used and each piece of lumber from the same tree is placed next to each other. The Shrine is not painted in order to preserve the shrines natural appearance. A Torii is placed at the entrance of each shrine. This is a wooden gate entrance that does not have a door. It has become a common “symbol representing Shinto practices and a popular icon for Japan” (Berkeley). Also, in all Shinto Shrines, some sort of water bath or fountain is placed for purification purposes. It is used for rinsing hands and mouths before going near or entering the shrine.
Harmony with Nature
The Shinto religion connects strongly the bond between man and nature. This is why originally before the shrines, the kami was worshiped outside in very special natural areas as mentioned earlier. Other evidence of harmony with nature is after entering through the Torii of the shrine, all shrines have a pathway called a sando that connects the entrance to the front of the structure. The point of it is to prepare the worshiper as he walks along. On the way to the structure, often there are streams to cross using a “sacred bridge to cross called a shinkyo (Berkeley).
Symbolism and Sacred Objects
In the shrines, the kami would be symbolized using objects. Later, the Buddhist religion began to influence some of the Shinto religion and occasionally, a kami is symbolized by actual statues. The Shinto religion also influenced the Buddhist religion giving much importance to nature, (Berkeley). A mirror is often placed inside the structure to symbolize the Kami entering it.
How It Is Used By Worshipers
Special rituals are done inside the Shrine to invite the kami in. Also, offerings of food are given to the kami. A communion meal also takes place where humans eat at the same meal as the kami to make a union between the two. People also perform dances to create a union between them and the kami.
Sources
http://orias.berkele.edu/visuals/japan_visuals/shintoB.HTM
Exploring Art, A Global, Thematic Approach. Second Edition. Margaret Lazzari, Dona Schlesier; 2005.
Shinto is a Japanese term meaning “the way of the kami”. A kami is a Japanese deity. These deities are worshiped in Shinto Shrines. Originally, Shinto worshipers used all natural areas for worshiping such as rivers, streams, caves and waterfalls. This is because it is believed that these deities live in natural things such as rocks, trees etcetera. Later on, the worship included not only deities but also ancient relatives. The addition of the worship of ancient ancestors later led to the making of Shinto Shine Structures where the kami live instead of worshiping them outdoors. These Shrines began as single Structure houses made entirely of tree products. They now often consist of groups of buildings in a complex.
Architectural Design
Shinto Shrines are usually made entirely out of natural materials. The Main Shrine at Ise, shown in the picture is considered the most holy of the shrines. “It is rebuilt every twenty years to exactly the same specifications” (Exploring Art). No nails are used. Wooden pegs are used and each piece of lumber from the same tree is placed next to each other. The Shrine is not painted in order to preserve the shrines natural appearance. A Torii is placed at the entrance of each shrine. This is a wooden gate entrance that does not have a door. It has become a common “symbol representing Shinto practices and a popular icon for Japan” (Berkeley). Also, in all Shinto Shrines, some sort of water bath or fountain is placed for purification purposes. It is used for rinsing hands and mouths before going near or entering the shrine.
Harmony with Nature
The Shinto religion connects strongly the bond between man and nature. This is why originally before the shrines, the kami was worshiped outside in very special natural areas as mentioned earlier. Other evidence of harmony with nature is after entering through the Torii of the shrine, all shrines have a pathway called a sando that connects the entrance to the front of the structure. The point of it is to prepare the worshiper as he walks along. On the way to the structure, often there are streams to cross using a “sacred bridge to cross called a shinkyo (Berkeley).
Symbolism and Sacred Objects
In the shrines, the kami would be symbolized using objects. Later, the Buddhist religion began to influence some of the Shinto religion and occasionally, a kami is symbolized by actual statues. The Shinto religion also influenced the Buddhist religion giving much importance to nature, (Berkeley). A mirror is often placed inside the structure to symbolize the Kami entering it.
How It Is Used By Worshipers
Special rituals are done inside the Shrine to invite the kami in. Also, offerings of food are given to the kami. A communion meal also takes place where humans eat at the same meal as the kami to make a union between the two. People also perform dances to create a union between them and the kami.
Sources
http://orias.berkele.edu/visuals/japan_visuals/shintoB.HTM
Exploring Art, A Global, Thematic Approach. Second Edition. Margaret Lazzari, Dona Schlesier; 2005.
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